John Wick: Chapter 4 review The new John Wick: Chapter 4 trailer sees Keanu Reeves return to Michael B. Jordan’s Rainbow Six wasteland, with John Wick’s Chad Stahelski realizing John Wick 4 is a cross between “the good , the bad and the ugly, Zatoichi and a Greek myth’ – Keanu Reeves exclusive in the upcoming Jonah Hill Denouement John Wick Chapter 4 Trailer a Keanu Reeves fighting Donnie Yen

John Wick: Chapter 4 it is relentlessly violent. He doesn’t stop. He hits you like the endless variety of assassins hit its hero. It’s so wild and expensive that it might as well be the end of civilization. Armament this time includes the following items: swords, pistols (sometimes both together), fists, feet, elbows, nunchucks, knives, dogs, bows and arrows, pickaxes, cars, motorcycles, a pencil. Famously, 80 people were killed in the first episode. In this, it seems that octogenarians die with each set. It’s crazy, it’s mania.

The third film ended with John (Keanu Reeves) left for dead and sentenced to bloodshed. It felt like the franchise was rushed, but Reeves and director Chad Stahelski can’t help it, and here they are again, taking that suspense and running with it, barely stopping to breathe. It is the first Wick that doesn’t involve series creator and writer Derek Kolstad, and the story fades into the background. Did you think storylines were, well, modest before? Ha ha. Here, the storyline is a must, existing to water the fights. And everything is fine. To ride in the desert, on the back of a camel? Insurance.

chapter 4 it’s mostly episodic, hopping from country to country, summoning different friends and enemies each time. There’s Donnie Yen, nearly 60 but looking 40 and fighting like he’s 20, his blind hitman Caine a dapper assassin. prefect’ 47 Ronins co-star Hiroyuki Sanada brings samurai skills as an ally to Wick Shimazu, whose mortal daughter Akira is played by a formidable Rina Sawayama. A very funny Scott Adkins, in a fat suit and accent like German high table boss Killa, yes Killa, shows up for a series of riots in a crowded nightclub where not a single raver pays blind attention to those two lunatics looking to kill each other. Etc.

Throughout, the action is jaw-dropping, with clever set pieces including an aerial view of a fight moving through a succession of rooms and an impressive brawl between speeding cars around the Arc de Triomphe that has you spending every second wondering how the hell. you take it out

And yet… well, that’s a bit much. Yes, it’s a love letter to action movies, but so much so that action movies might want to issue a restraining order. The killers keep popping up, from all angles, endlessly, like reappearing video game characters. Some fights go on until you pray for someone to win so we can all move on to the next match – fighting at worst is hard work. And it is, of course, as prodigious as ever. The high table, an amorphous and abstract concept in any case, is even more slippery here, while Laurence Fishburne and Ian McShane have less to do than before, facsimiles of what were lean archetypes in the first place.

There are things happening that should really affect you, but it doesn’t. Bite. Strangely though, given the stakes, the film doesn’t seem interested in having an emotional impact. Unless grimacing is an emotion. Reeves essentially operates on a (mythologically gruff) ledger. But again, that’s what this series is all about, and even with this limited tenure, Reeves is relentlessly charismatic. With Breaking point AND Speed he reinvented the action hero and it’s great that he’s still going strong three decades later.

Also, if you’re going to watch it, the action is what you want, and when it comes down to it, you can’t go wrong. It’s incredibly tactile, it is it hurts. You can see that Reeves actually makes a lot of himself, and it counts. You feel it. He’s treated like a rag doll in this one, towards the end reminiscent of Buster Keaton: the ending is funny, intentionally. He is knocked down, but gets back up. And again and again and again. He prays for his bones.